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Stained glass in the east window at Branston by Keith New, 1965.
All Saints church at Branston is a remarkable building, its slender spire sits upon a Saxon tower promising the visitor a building of great antiquity, whilst the nave and aisles betray a 14th century date (clerestorey probably added a century later) followed by a chancel whose style suggests a 13th century origin given its lancet-headed windows. It is only the eastern face of the chancel with its unusually designed 20th century 'lattice' window that hints at the major changes inside.
At Christmas 1962 a fire broke out in the chancel causing widespread damage to the interior of the church. The chancel itself was gutted, whilst much of the roof over the nave and the north aisles was also destroyed, though happily the late medieval carved wooden benches in the nave survived intact. The church then had the good fortune to employ architect George Pace to restore the building, which he did by extensively remodelling the ruined chancel (replacing the east wall with the latticed window mentioned earlier) and replacing the roof and furnishings in his trademark linear style, which balances both medieval and modern form.
The resulting interior is truly a thing of beauty, a hugely successful blending of ancient and modern, with something of the best of each. The focal point of the interior is now the superb east window by Keith New, a rich abstract composition that spans Pace's delicate mullions to make a single unit of the multiple apertures. The effect of this deep colour against the whitewashed interior of the modernised chancel is quite magical. The west end of the nave is dominated by Pace's new organ case with a grid-like form,(adorned with Victorian carvings from the former chancel screen) whilst above the nave ceiling has been recreated in its 15th century form, reusing some carved figures of angels from the original that have been gilded.
This is a stunning church, a highly unusual and most imaginative example of how an ancient building can be revived after a disaster, resulting in a delightful fusion of ancient and modern. It deserves to be better known.
Unfortunately the church is generally kept locked outside of services so it will be necessary to make an appointment to see the interior with one of the churchwardens. I am extremely grateful to one of them, Nigel Dickin, who kindly came to unlock for me at very short notice and allowed me to enjoy this beautiful interior. His photostream (including some good photos of the church) can be seen below:-
This deralict building was near Buu Long park and we took a lot of photos there.
Biên Hòa is a city in Dong Nai Province, Vietnam, about 20 miles (32 km) (30 kilometers) east of Saigon, to which Bien Hoa is linked by Vietnam Highway 1. In 1989 the estimated population was over 300,000. And now in 2005, population increased to 541,495, and some estimates show that the city has 604,548 people in 2007
Bien Hoa grew into a major suburb of Saigon (later renamed Ho Chi Minh City) as the capital city of South Vietnam grew. Following the First Indochina War, tens of thousands of refugees from the northern and central regions of Vietnam—a large portion of them Roman Catholics—resettled in Bien Hoa as part of Operation Passage to Freedom.
During the Vietnam War, the United States Air Force operated Bien Hoa Air Base near the city. Nonetheless, a significant number of the city's residents sympathized with, or were members of, the Viet Cong. Mortar attacks on U.S. and ARVN targets were frequently staged from residential districts in Bien Hoa.
With regard to entertainment, the city includes several amusement parks, night clubs and restaurants lining the Dong Nai River. Construction has increased rapidly (with many Western-style houses and villas under development), and the real estate market has experienced a series of boom cycles since the mid-1990s. The retail market still includes the many ad hoc bazaar-type markets and shop-fronts common to most of Vietnam, but now also includes air-conditioned, enclosed shopping malls, one of which, a Big C branch, includes a KFC restaurant, a Western-style grocery store, a bowling alley and video arcade, among others.
St Peter, Weston, Suffolk
This blissfully serene graveyard sits, tree-surrounded, in the backroads of north-east Suffolk. Weston is blessed with one of the thirteen surviving Seven Sacrament fonts in Suffolk. None of the others in the county, even Badingham, are in such a tiny church, and consequently it feels rather as if the church has been built around the font. It sits on a very high Maltese cross which is probably the original, but appears to have been recut - the shaft to the font does too. The Rector tells me that the height of the font and its narrowness makes baptising a baby in it a rather perilous experience. Although the panels are badly mutilated, this font isn't in the terrible condition that Mortlock suggests, and all except the Last Rites panel are easily decodable. The mason responsible was probably the same as that at Westhall, probably Suffolk's best.
The bench ends are probably by the same artist as the ones up the road at Redisham. At the east end on the south side is a very fine bat-winged dragon, and the south side also features a now-headless friar preaching from a pulpit - his text hangs beside him. But it is the carvings on the north side that are particularly fascinating. What appears to be the back half of a lion balances a medieval cooking pot on his back. A similar carving survives in more complete form at Redisham, where it is revealed as a dragon, who is leaning back to lick out the pot. Mortlock suggests that it might illustrate the legend in the bestiary about a group of sailors shipwrecked on an island. They light a fire to cook food, whereupon the island awakes and shakes them off - it was a whale all the time. As Mortlock wryly observes, the medieval carver here had never seen a whale, but he knew very well what a dragon was.
Weston also has some surviving fragments of wall paintings. These are on the south side, and show Christ's entry into Jerusalem, rather like the ones nearby at North Cove. Underneath is a later improving text, added by the Stuarts perhaps to encourage us all. A roundel of continental glass depicts Christ in the garden at Gethsemane.
St Wystan, Repton, Derbyshire.
Window (detail) by James Powell & Sons, Whitefriars, 1895.
In thanksgiving for their marriage and in memory of two beloved parents by Slade Baker Stallard Penoyre, Priest, and Alice, his wife.
Rev Slade Baker Stallard Penoyre of Westbury-on-Trym was the son-in-law of Mr & Mrs Auden of Danesgate, Repton.
We know that his testimony is true.
Whatsoever he saith unto you, do it.
James Powell & Sons, situated on the site of the former Whitefriars monastery, between the Thames and Fleet Street, was producing mainly flint glass when it was bought in 1834 by James Powell, a London wine merchant. On his death the firm passed to his three sons Arthur, Nathaniel and James Cotton Powell, who in 1844 established a stained glass department. The latter benefitted from the scientific researches of Charles Winston, a lawyer by profession, who had dedicated himself to the study of medieval stained glass. It had made him aware of the shortcomings of the glass available to contemporary artists, this being often thin and garish in colour. In 1847 he encouraged experiments aimed at rediscovering the chemical components of medieval glass and persuaded the firm of James Powell & Sons to produce 'antique' glass to his recipes. It was mainly due to this collaboration that the firm was to become one of the most important studios and glass manufacturers of the Victorian period.
“Buy, buy, says the sign in the shop window; Why, why, says the junk in the yard.”
― Paul McCartney
Shop window in Ashland, Oregon.
Window by Morris & Co c1908 on the north side of the chancel. Dating from after the death of Burne Jones the overall design would have been produced by his successor John Henry Dearle but re-uses Burne Jones's designs for the main figures. Medieval glass remains in the traceries.
St Michael & All Angels at Ledbury is not only one of Herefordshire's grandest parish churches but also one of its most rewarding. There is much to enjoy in this ancient building from its unusual architectural features to its interesting monuments and top quality glass.
The church is set back from the town's main street and accessed via a narrow cobbled alleyway, the view of its soaring spire beckoning the visitor onward. Upon arriving at the churchyard gates this massive building reveals itself to be full of surprises, most noticeably the tower and spire being detached from the main building and standing a short distance to the north of a beautifully detailed chapel on the north side (formerly dedicated to St Katherine) whose large windows are enriched with ballflower ornament. To the right the mass of the three-gabled west front greets the visitor, centred around the original Norman west doorway with its carved capitals.
Much of the Norman building still remains but aside from the west door the building has been modified and extended in the following centuries to the point that most of the exterior now appears to be of 13th or 14th century date. The detached tower dates back to the 13th century in its lower stages, but the topmost belfry stage and the tapering spire above are an 18th century addition by architect Nathaniel Wilkinson of Worcester. The spire is nonetheless remarkable for its sheer height, and visitors can often ascend the tower to its base during the summer months.
Inside the church initially has a vast, almost barn-like feel owing to the great space and somewhat low level of light, particularly as the eye is drawn towards the chancel which almost disappears into the gloom at first sight. The church is lit by a series of tall windows but the light they admit is more limited by the extensive collection of stained glass (though fortunately most of this is exceptionally good). The chancel is the oldest part, retaining its Norman arcades with intriguing porthole-like oculi above that would have been originally glazed as a clerestorey before the aisles were enlarged. On the north side (almost acting as a transept) is the former chapel with its large Decorated windows that is now separated by a glazed screen and is referred to presently as the chapter house. It contains some old fragments of glass and a fine effigy of a 13th century priest.
Throughout the church there are tombs and monuments of interest (not all well lit so at times the eye needs to adjust to the darkness) from the medieval period to the 19th century. Most of the windows on the south side are filled with rich late Victorian glass by Kempe, whilst in the north side is a more varied display with good examples of Pre Raphaelite, Arts & Crafts and more modern work by Burne Jones, Christopher Whall and John K.Clark respectively, in my opinion the most outstanding windows in the church.
Ledbury church is normally kept open and welcoming for visitors to this popular, tourist-friendly market town. It is well worth a visit, a well above average church!
This was taken at Cotehele, a National Trust Property in Cornwall. Looking through the window, you wonder at all the history that has been glimpsed through it over many years.
Painswick Residence Collection R7 flush casement double glazed windows. Installed in Ruddington, Nottingham. For a free quotation call us on 01158 660066 www.thenottinghamwindowcompany.co.uk or pop into our West Bridgford showroom. #Painswick #R7 #Residencecollection #Flush #Upvc #Nottingham #Ruddington
Open up the dirty window
Let the sun illuminate the words
That you could not find
Reaching for something in the distance
So close you can almost taste it
Release your innovation
Feel the rain on your skin
No one else can feel it for you
Only you can let it in
No one else, no one else
Can speak the words on your lips
Drench yourself in words unspoken
Live your life with arms wide open
Today is where your book begins
The rest is still unwritten, !!
West rose window at Charlecote by O'Connor of London c1860.
St Leonard's church stands close to the main entrance to Charlecote Park and contains 16th and 17th century monuments to it's builders and residents, the Lucy family in the north chapel.
The church itself is an entirely Victorian building dating from 1851-3 designed by John Gibson.
The interior is somewhat dark (with much Victorian glass) and unusually the entire length of nave and chancel is finished with a stone-vaulted ceiling.
Detail of upper storey windows at Harvington Hall, a moated manor hall near Kidderminster. Pity about the shadow to the right from a (doubtless-of-architectural-interest) drainpipe.